Cave temples of Ellor. Ellora - ancient cave temples and monasteries of India. How to get to Ellora
Showing you this object, once again I am amazed and once again I can’t even believe that such majestic structures could have been built a long time ago. How much labor, effort and energy was invested in these rocks!
The most visited ancient monument of Maharashtra is the Ellora caves, which are located 29 km northwest of Aurangabad, perhaps not located in such impressive location, like their older sisters at Ajanta, but the astonishing richness of their sculpture makes up for this, and they are by no means to be missed if you are on your way to or from Mumbai, which is 400 km to the southwest. A total of 34 Buddhist, Hindu and Jain caves - some of which were created at the same time, competing with each other - encircle the foot of the Chamadiri cliff, which stretches for two kilometers, where it passes into open plains. The main attraction of this territory - the gargantuan-sized temple of Kailash - rises up from a huge, sheer-walled depression in the hillside. The largest monolith in the world, this incredibly huge piece of solid basalt has been transformed into a picturesque cluster of intersecting colonnaded halls, galleries and sacred altars. But let's talk about everything in more detail ...
The temples of Ellora arose in the era of the state of the Rashtrakut dynasty, which in the 8th century united under their rule western part India. In the Middle Ages, many considered the Rashtrakut state to be the greatest state, it was compared with such powerful powers as the Arab Caliphate, Byzantium and China. The most powerful Indian rulers at that time were the Rashtrakutas.
The caves were created between the 6th and 9th century AD. In total, there are 34 temples and monasteries in Ellora. The interior decoration of the temples is not as dramatic and rich as in the Ajanta caves. However, there are refined sculptures of a more beautiful form here, a complex plan is observed and the sizes of the temples themselves are larger. And all the memos are much better preserved to this day. Long galleries were created in the rocks, and the area of one hall sometimes reached 40x40 meters. The walls are skillfully decorated with reliefs and stone sculptures. Temples and monasteries were created in the basalt hills for half a millennium (6-10 century AD). It is also characteristic that the construction of the caves of Ellora began around the time when the holy places of Ajanta were abandoned and lost sight of.
In the XIII century, by order of Raja Krishna, the cave temple of Kailasantha was created. According to quite specific treatises on construction, a temple was erected, everything was stated in them to the smallest detail. Between heavenly and earthly temples, Kailasantha was to become an intermediate one. Kind of a gate.
Kailasantha measures 61 meters by 33 meters. 30 meters height of the whole temple. Kailasantha was created gradually, they began to cut down the temple from the top. First, they dug a trench around the boulder, which eventually turned into a temple. Holes were cut in it, later these will be galleries and halls.
By gouging about 400,000 tons of rock, the Kailasantha temple at Ellora was created. From this it can be judged that those who created the plan of this temple had an extraordinary imagination. Features of the Dravidian style are demonstrated by Kailasantha. This can be seen both in the gate in front of the Nandin entrance, and in the very outline of the temple, which gradually narrows towards the top, and along the facade with miniature sculptures in the form of decoration.
All Hindu buildings are located around the most prominent Kailash temple, which personifies the sacred mountain of Tibet. In contrast to the calm and more ascetic decoration of Buddhist caves, Hindu temples are decorated with catchy and bright carvings, which is very characteristic of Indian architecture.
Near Chennai in Tamil Nanda is the temple of Mamallapuram, with its towers the tower of the Kailasantha temple resembles. They were built around the same time.
Incredible effort has been put into the construction of the temple. This temple stands in a well 100 meters long and 50 meters wide. At Kailasanath, the foundation is not only a three-tiered monument, but also huge complex with a courtyard near the temple, porticoes, galleries, halls, statues.
The lower part ends with a plinth of 8 meters, it is girded with figures of sacred animals of elephants and lions from all sides. The figures protect and at the same time support the temple.
The original reason it's enough remote place became the center of such an active religious and artistic activity, became a lively caravan route, which ran here, connecting flourishing cities in the north and ports west coast. Profits from profitable trade went to the construction of the sanctuaries of this complex, hollowed out in stone for five hundred years, begun in the middle of the 6th century. n. e., about the same time that Ajanta, located 100 km to the northeast, was abandoned. This was the end of the Buddhist era in central India: by the end of the 7th c. Hinduism began to rise again. The revival of Brahmanism gained momentum over the next three centuries under the patronage of the Chalukya and Rashtrakuta kings, two powerful dynasties, thanks to which the most of works in Ellora, including the creation of the Kailash temple in the 8th century. The third and last stage of the take-off of construction activity in this area came at the end of the first millennium of a new era, when the local rulers turned from Shaivism to Digambara Jainism. A small cluster of less prominent caves to the north of the main group stands as a reminder of this era.
Unlike the secluded Ajanta, Ellora did not escape the consequences of the fanatical struggle with other religions that accompanies the coming to power of the Muslims in the 13th century. The worst extremes were taken during the reign of Aurangzeb, who, in a fit of piety, ordered the systematic destruction of "pagan idols." Although Ellora still bears the scars of that time, most of her sculpture has remained miraculously intact. The fact that the caves were carved into solid rock, out of the monsoon rains, has kept them in remarkably good condition.
All caves are numbered, approximately according to the chronology of their creation. Numbers 1 to 12 in the southern part of the complex are the oldest and date from the Buddhist Vajrayana era (AD 500-750). The Hindu caves, numbered 17 to 29, were built at the same time as the later Buddhist caves and date back to between 600 and 870 BC. new era. Further north, the Jain caves - numbers 30 to 34 - were gouged from 800 AD to the end of the 11th century. Due to the sloping nature of the hillside, most of the cave entrances are set back from ground level and behind open courtyards and large pillared verandas or porticos. Entrance to all caves except the Kailash temple is free.
To see the oldest caves first, turn right from the car park where the buses arrive and walk along the main path to Cave 1. From here, gradually work your way further north, resisting the temptation to go to Cave 16, a Kailash temple that is best left for later. when everyone leaves at the end of the day tourist groups while the long shadows cast by the setting sun bring his striking stone sculpture to life.
Man-made rock caves dotted across the volcanic hills of the northwestern Deccan are among the most amazing religious monuments in Asia, if not the world. Ranging from tiny monastic cells to colossal, elaborate temples, they are remarkable for being hand-cut into hard stone. Early caves of the 3rd c. BC BC, seem to have been temporary shelters for Buddhist monks when torrential monsoon rains interrupted their wanderings. They copied earlier wooden buildings and were financed by merchants, for whom the castless new faith was an attractive alternative to the old, discriminatory social order. Gradually, inspired by the example of Maurya emperor Ashoka, local ruling dynasties also began to convert to Buddhism. Under their patronage, during the 2nd c. BC e., in Karli, Bhaja and Ajanta, the first large cave monasteries were created.
At this time, the ascetic Theravada Buddhist school predominated in India. Closed monastic communities had little interaction with the outside world. The caves created during this era were mostly simple "prayer halls" (chaityas) - long, rectangular apsidal chambers with cylindrical vaulted roofs and two low pillared passages curving gently around the back of a monolithic stupa. As symbols of Buddha's enlightenment, these hemispherical burial mounds were the main centers of worship and meditation, around which communities of monks made their ritual detours.
The methods used in creating caves have changed little over the centuries. Initially, the main dimensions of the decorative facade were applied to the front of the rock. Groups of masons then cut a rough hole (which later became an elegant horseshoe-shaped chaitya window) through which they cut further into the depths of the rock. As workers reached floor level, using heavy iron picks, they left chunks of untouched rock, which skillful sculptors then turned into columns, prayer friezes and stupas.
By the 4th c. n. e. the Hinayana school began to give way to the more luxurious Mahayana or "Great Vehicle" school. This school's greater emphasis on an ever-increasing pantheon of deities and bodhisattvas (merciful saints who put off their own attainment of Nirvana to assist humanity in its progress toward Enlightenment) was also reflected in a change in architectural styles. The chaityas were supplanted by the richly decorated monastic halls, or viharas, in which the monks both lived and prayed, and the image of the Buddha assumed greater prominence. Taking the place where the stupa used to stand at the end of the hall, around which ritual detours were made, a colossal image appeared, which carried 32 characteristics (lakshanas), including long hanging earlobes, a bulging skull, curls of hair that distinguish the Buddha from other beings. Mahayana art reached its peak at the end of the Buddhist era. The creation of an extensive catalog of themes and imagery contained in ancient manuscripts such as the Jatakas (legends about previous incarnations of the Buddha) as well as those displayed in the marvelous, awe-inspiring wall paintings at Ajanta may have been partly due to an attempt to stir up interest in a faith that By that time, it had already begun to fade in this region.
The desire of Buddhism to compete with the resurgent Hinduism, which took shape in the 6th century, eventually led to the creation of a new, more esoteric religious movement within the Mahayana. The direction of the Vajrayana, or "Thunder Chariot", emphasizing and affirming the creative principle of the feminine, shakti; in secret rituals, spells and magic formulas were used here. Ultimately, however, such modifications proved powerless in India in the face of the revived appeal of Brahmanism.
The subsequent transfer of royal and popular patronage to the new faith is best seen in the example of Ellora, where during the 8th century. many of the old viharas have been converted into temples, and polished shivalings have been installed in their shrines instead of stupas or Buddha statues. Hindu cave architecture, with its emphasis on dramatic mythological sculpture, reached its highest expression in the 10th century with the majestic Kailash Temple, a gigantic copy of the structures on the surface of the earth that had already begun to replace the caves carved into the rocks. It was Hinduism that bore the brunt of the fanatical medieval persecution of other religions by Islam, which reigned in the Deccan, and Buddhism by that time had long since moved to the relatively safe Himalayas, where it flourishes to this day.
Buddhist caves are located on the sides of a gentle recess in the slope of the Chamadiri cliff. All but Cave 10 are viharas, or monastic halls, which the monks originally used for study, secluded meditation and communal prayers, and mundane activities such as eating and sleeping. As you walk through them, the halls will gradually become more and more impressive in size and style. Scholars attribute this to the rise of Hinduism and the need for rivalry in seeking the patronage of rulers with the more reverent Saivite cave temples that have been excavated so close in the neighborhood.
Caves 1 to 5
Cave 1, which may have been a granary, as its largest hall is a simple, unadorned vihara that houses eight small cells and almost no sculpture. In the much more impressive Cave 2, the large central chamber is supported by twelve massive square-based columns, and Buddha statues sit along the side walls. The entrance leading to the altar room is flanked by the figures of two giant dvarapalas, or gate guards: the unusually muscular Padmapani, the bodhisattva of compassion with a lotus in his hand, on the left, and the richly jeweled Maitreya, the “Buddha of the Future”, on the right. Both are accompanied by their spouses. Inside the shrine itself, a majestic Buddha sits on a lion-shaped throne, looking stronger and more determined than his serene predecessors in Ajanta. Caves 3 and 4, which are slightly older and similar in design to Cave 2, are in rather poor condition.
Known as "Maharvada" (because during monsoon rains the local Mahar tribe took refuge in it), Cave 5 is the largest one-story vihara in Ellora. Its huge, 36 m long, rectangular meeting room is said to have been used by the monks as a refectory, with two rows of benches carved into the stone. At the far end of the hall, the entrance to the central shrine is guarded by two beautiful statues of bodhisattvas - Padmapani and Vajrapani ("Thunder Holder"). Inside sits the Buddha, this time on a dais; his right hand touches the ground making a gesture indicating the "Thousand Buddha Miracle" that Master performed to confuse a group of heretics.
Cave 6
The next four caves were dug at about the same time in the 7th century. and are just a repetition of their predecessors. On the walls of the vestibule at the far end of the central hall in Cave 6 are the most famous and beautifully executed statues. Tara, the wife of the bodhisattva Avalokiteshvara, stands on the left, with an expressive, friendly face. On the opposite side is the Buddhist goddess of teaching Mahamayuri (Mahamayuri), depicted with a symbol in the form of a peacock, in front of her at the table sits a diligent student. There is an obvious parallel between Mahajuri and Saraswati, the Hindu goddess of knowledge and wisdom corresponding to her (the mythological vehicle of the latter, however, was a goose), which clearly shows to what extent Indian Buddhism of the 7th century. borrowed elements from a rival religion in an attempt to revive his own waning popularity.
Caves 10, 11 and 12
Dug out at the beginning of the 8th c. Cave 10 is one of the last and most magnificent chaitya halls in the Deccan Caves. To the left of its large veranda, steps begin, rising to the upper balcony, from where a triple passage leads to the inner balcony, with flying horsemen, celestial nymphs and a frieze decorated with playful dwarfs. From here you have a beautiful view of the hall with its octagonal columns and vaulted roof. From the stone "rafters" carved into the ceiling, imitation beams that were present in earlier wooden structures, the popular name of this cave comes - "Sutar Jhopadi" - "Carpenter's Workshop". At the far end of the hall, on a throne, in front of a votive stupa, sits the Buddha - this group represents central location worship.
Despite the discovery in 1876 of its previously hidden subterranean floor, Cave 11 is still referred to as "Dho Tal", or "two-tiered" cave. Its top floor is a long pillared assembly hall with a shrine to the Buddha, and images on its back wall of Durga and Ganesha, the elephant-headed son of Shiva, indicate that the cave was converted into a Hindu temple after it was abandoned by the Buddhists.
Neighboring cave 12 - "Tin Tal" or "three-tiered" - is another three-tiered vihara, the entrance to which leads through a large open courtyard. Once again, the main attractions are on the top floor, which was once used for learning and meditation. On the sides of the altar room at the end of the hall, along the walls of which five large figures of bodhisattvas are located, there are statues of five Buddhas, each of which depicts one of his previous incarnations of the Teacher. The figures on the left are shown in a state of deep meditation, and those on the right are again in the “Miracle of a Thousand Buddhas” position.
Seventeen Hindu caves of Ellora are grouped around the middle of the cliff, where the majestic Kailash temple is located. Cut down at the beginning of the Brahminic renaissance in the Deccan, at a time of relative stability, cave temples full of a sense of life that their reserved Buddhist predecessors lacked. There are no longer rows of big-eyed, soft-faced Buddhas and bodhisattvas. Instead, huge bas-reliefs stretch along the walls, depicting dynamic scenes from Hindu legends. Most of them are associated with the name of Shiva, the god of destruction and rebirth (and the main deity of all the Hindu caves of the complex), although you will also find numerous images of Vishnu, the guardian of the universe, and his many incarnations.
The same patterns are repeated over and over again, which gave the artisans of Ellora an excellent opportunity to hone their technique over the centuries, the crown and greatest achievement of which was the Kailash temple (Cave 16). The temple described separately is an attraction that you must definitely visit while in Ellora. However, you can better appreciate its fine sculpture if you first visit the earlier Hindu caves. If you don't have too much time, keep in mind that numbers 14 and 15, located directly to the south, are the most interesting of the group.
Cave 14
Dating from the beginning of the 7th century, one of the last caves of the early period - Cave 14 - was a Buddhist vihara converted into a Hindu temple. Its plan is similar to Cave 8, with the altar room separated from the back wall and surrounded by a circular passageway. The entrance to the sanctuary is guarded by two imposing statues of the river goddesses Ganga and Yamuna, and in the alcove behind and to the right, the seven goddesses of fertility "Sapta Matrika" rock plump babies on their knees. The son of Shiva - Ganesha with the head of an elephant - sits to their right next to two terrifying images of Kala and Kali, the goddesses of death. Beautiful friezes adorn the long walls of the cave. Starting from the front, the friezes on the left (when facing the altar) depict Durga killing the buffalo demon Mahisha; Lakshmi, the goddess of wealth, sits on a lotus throne, while her elephant servants pour water from their trunks on her; Vishnu in the form of the boar Varaha, saving the earth goddess Prithvi from the flood; and finally Vishnu with his wives. The panels on the opposite wall are dedicated exclusively to Shiva. The second one from the front shows him playing dice with his wife Parvati; then he performs the dance of the creation of the Universe in the form of Nataraja; and on the fourth frieze, he nonchalantly ignores the futile attempts of the demon Ravana to throw him and his wife off their earthly dwelling - Mount Kailash.
Cave 15
Like the neighboring cave, the two-story Cave 15, which leads to the entrance long staircase, began its existence as a Buddhist vihara, but was occupied by the Hindus and turned into a Shiva sanctuary. You can skip the generally not particularly interesting first floor and go straight up, where there are several examples of Ellora's most majestic sculpture. The name of the cave - "Das Avatara" ("Ten Avatars") - comes from a series of panels located along the right wall, which represent five of the ten incarnations - avatars - Vishnu. On the panel closest to the entrance, Vishnu is shown in his fourth image of the Lion Man - Narasimha, which he took to destroy the demon, which "neither man nor beast could kill, neither day nor night, neither inside the palace nor outside" ( Vishnu overcame him, hiding at dawn on the threshold of the palace). Pay attention to the serene expression on the face of the demon before death, which is confident and calm, because he knows that, being killed by a god, he will receive salvation. On the second frieze from the entrance, the Guardian is depicted in the incarnation of the sleeping “Primal Dreamer”, reclining on the rings of Ananda, the cosmic serpent of Infinity. From his navel, a lotus flower shoot is about to grow, and Brahma will emerge from it and begin the creation of the world.
The carved panel in the recess to the right of the vestibule shows Shiva emerging from the lingam. His rivals, Brahma and Vishnu, stand humbly and pleadingly before his vision, symbolizing the predominance of Shaivism in this region. And finally, in the middle of the left wall of the room, if you stand facing the sanctuary, the most elegant sculpture of the cave depicts Shiva in the form of Nataraja, frozen in a dancing pose.
Caves 17 to 29
Only three of the Hindu caves located on the hillside north of the Kailash temple are worthy of inspection. Cave 21 - "Ramesvara" (Ramesvara) - was created at the end of the 6th century. Believed to be the oldest Hindu cave in Ellora, it contains several marvelously executed examples of sculpture, including a pair of beautiful river goddesses flanking the veranda, two wonderful gatekeeper statues, and several sensual amorous couples (mithunas) adorning the balcony walls. Note also the magnificent panel depicting Shiva and Parvati. In Cave 25, located further away, there is a striking image of the Sun God - Surya, driving his chariot towards the dawn.
From here, the path leads past two more caves, and then abruptly descends along the surface of a steep cliff to its foot, where a small river gorge is located. Crossing a seasonal stream with a waterfall, the path climbs up the other side of the crevice and leads to Cave 29 - Dhumar Lena. This one dates from the end of the 6th c. the cave is distinguished by an unusual ground plan in the form of a cross, similar to Elephanta cave in Mumbai harbor. Its three staircases are guarded by pairs of rearing lions, and the walls inside are decorated with huge friezes. To the left of the entrance, Shiva pierces the demon Andhaka; in the adjacent panel, it reflects the attempts of the many-armed Ravana to shake him and Parvati off the top of Mount Kailash (note the fat-cheeked dwarf teasing an evil demon). The south side depicts a dice game scene in which Shiva teases Parvati by holding her hand as she prepares to throw.
Kailash Temple (Cave 16)
Cave 16, the colossal temple of Kailash (daily 6am to 6pm; Rs 5) is Ellora's masterpiece. In this case, the term "cave" is erroneous. Although the temple, like all caves, was carved into solid rock, it is strikingly similar to the usual structures on the surface of the earth - in Pattadakal and Kanchipuram in South India, on the model of which it was built. This monolith is believed to have been conceived by the Rashtrakuta ruler Krishna I (756-773). However, a hundred years passed, and four generations of kings, architects and artisans passed, until this project was completed. Climb up the path that leads along the ledge of the northern cliff of the complex to a platform above a squat main tower and you will understand why.
The size of the building alone is amazing. Work began by digging three deep trenches at the top of the hill, using picks, hoes, and pieces of wood, which, soaked in water and inserted into narrow cracks, expanded and crumbled the basalt. When a huge piece of raw rock stood out in this way, the royal sculptors set to work. It is estimated that a total of a quarter of a million tons of fragments and crumbs were cut down from the hillside, it was impossible to improvise or make mistakes. The temple was conceived as a gigantic copy of the Himalayan dwelling of Shiva and Parvati - the pyramidal Mount Kailash (Kailash) - the Tibetan peak, which is said to be the "divine axis" between heaven and earth. Today, almost all of the thick layer of white lime plaster that gave the temple the appearance of a snowy mountaintop has fallen away, revealing carefully crafted surfaces of grey-brown stone. At the back of the tower, these protrusions have been eroded by centuries and faded and blurred, as if a gigantic sculpture was slowly melting from the brutal Deccan heat.
The main entrance to the temple leads through a high stone partition, which is designed to delimit the transition from the mundane to the sacred realm. Passing between the two river goddesses guarding the entrance, Ganga and Yamuna, you find yourself in a narrow passage that opens into the main forecourt, opposite the panel depicting Lakshmi - the Goddess of Wealth - being showered by a pair of elephants - this scene is known to the Hindus under the name "Gajalakshmi". Custom requires pilgrims to circumnavigate Mount Kailash in a clockwise direction, so descend the steps on the left and walk across the front of the patio to the nearest corner.
From the top of the concrete staircase in the corner, all three main sections of the complex are visible. The first is the entrance with the Nandi buffalo statue - vehicle Shiva lying in front of the altar; the next, the intricately decorated walls of the main assembly hall, or mandapa, recessed into stone, which still retain traces of the colored plaster that originally covered the entire interior of the structure; and finally, the sanctuary itself, with a short and thick 29-meter pyramidal tower, or shikhara (which is best viewed from above). These three components rest on an appropriately sized raised platform supported by dozens of lotus-gathering elephants. In addition to symbolizing the sacred mountain of Shiva, the temple also depicts a giant chariot. The transepts protruding from the side of the main hall are its wheels, the Nandi shrine is its yoke, and the two life-size trunkless elephants in front of the courtyard (mutilated by marauding Muslims) are draft animals.
Most of the main attractions of the temple itself are limited to its side walls, which are covered with expressive sculpture. The long panel along the stairs leading to the northern part of the mandapa vividly depicts scenes from the Mahabharata. It shows some scenes from Krishna's life, including the one shown in the lower right corner of the baby god suckling the poisoned breast of a wet nurse sent by his evil uncle to kill him. Krishna survived, but the poison dyed his skin a characteristic blue color. If you continue to look around the temple clockwise, you will see that most of the panels of the lower sections of the temple are dedicated to Shiva. In the southern part of the mandapa, in an alcove carved from the most prominent part of it, you will find a bas-relief, which is generally considered the most beautiful example of sculpture in the complex. It shows how Shiva and Parvati are disturbed by the many-headed demon Ravana, who was imprisoned inside sacred mountain and now shakes the walls of his prison with his many hands. Shiva is about to assert his supremacy by calming the earthquake with the movement of his big toe. Parvati, meanwhile, watches him nonchalantly, leaning on her elbow, while one of her maids flees in a panic.
At this point, make a slight detour and climb the stairs in the lower (southwest) corner of the courtyard to the “Hall of Sacrifices” with its striking frieze of the seven mother goddesses, the Sapta Matrika, and their terrifying companions Kala and Kali (represented standing on top of mountains of corpses), or head straight up the steps of the main assembly hall, past the energetic battle scenes of the spectacular frieze of the Ramayana, and into the altar room. The sixteen-columned assembly hall is shrouded in a gloomy half-light, which is designed to focus the attention of the worshipers on the presence within the deity. Using a portable electric flashlight, the choukidar will illuminate fragments of the ceiling painting, where Shiva in the form of Nataraja performs the dance of the birth of the Universe, and numerous erotic mithuna couples are also presented. The shrine itself is no longer a functioning altar, although it still houses a large stone lingam mounted on a yoni pedestal, symbolizing the dual aspect of Shiva's generative energy.
It is remarkable that after so many years, the cultural, historical and architectural heritage of the planet has been imprinted on our earth forever. And one of them is the caves of Ellora. The caves and temples of Ellora are listed by UNESCO as monuments that are world heritage humanity.
one of the questions that interests me is this: there must have been a lot of people living or coming here. And how were the water pipes arranged here? Yes, at least the same Topas Sewerage
Ellooru Caves (Ellooru, Elloru caves) is a complex located in India in the state of Maharashtra, 30 km west of the city of Aurangabad - silent evidence of the peaceful coexistence of three religions at once, which, along with its highly artistic value, makes this place even more significant for world culture.
The caves of Ellora are 34 temples and monasteries, covering about 2 km in length, carved into basalt rocks. They were created between the 6th and 10th centuries alternately by representatives of different religious movements. Sanctuaries of Buddhism (12 caves), Hinduism (17 caves) and Jainism (5 caves) grew here one after another century after century, and today they are a clear demonstration of the religious tolerance that reigned then in Indian lands. In the XIV century, the temples of Ellora suffered greatly from the struggle of Muslims against the pagans, but, despite their efforts, they failed to overcome the hard basalt.
The temples are carved out of rock with many passages. Almost all caves are viharas (residence, dwelling, abode), which the monks used for study, meditation, as well as for such mundane activities as eating and sleeping. As you get to know these caves, you will notice how their halls gradually increase in size and acquire a more refined style.
The caves in Ellora are a whole ensemble of magnificent temples, statues, columns and sculptures. The Kailasanatha Temple, a kind of center of Ellora, is rightfully considered the most outstanding. It was created over a hundred years in the 8th century and was carved from a single monolith, but not as usual something is built from the bottom up, but from top to bottom and from the sides! The temple, decorated with magnificent carvings, symbolizes Mount Kailash, considered by representatives of four religions - Buddhists, Hindus, Jains and Bon adherents - to be sacred, "the heart of the world." In particular, the followers of Hinduism revere Kailash as a mountain, where the abode of Shiva is located. Initially, the temple was even whitewashed, specifically to make it look like a snow-covered holy mountain. And in the main cache of the temple, a copper tablet was found with the inscription: “Oh, how could I do this without magic?”. Indeed: "How?!".
The Buddhist caves (also called the Vishwakarma caves) are the earliest of the Ellora caves and date from 500 to 750 AD. Interestingly, the caves become larger and more beautiful as you move up. north side. Scientists explained this by the growing need for competition with Hinduism, because already in 600 the first Hindu temple appeared here.
The Hindu monasteries of Ellora are completely different from the Buddhist caves, both in terms of style and decoration. These caves were carved from top to bottom, and the shape was given to them in several stages. In total, there are 17 caves, carved between 600 and 870 years. They occupy the central part of the rock, grouped around the famous Kailash temple. Unlike the solemn and serene Buddhist caves, the walls of Hindu monasteries are covered with living bas-reliefs depicting the events of their Hindu scriptures. All of them are dedicated to the god Shiva, but there are also images of Vishnu and his various reincarnations.
The Jaina Caves are the youngest in the Ellora complex and date back to 800-900 years. They are located 2 kilometers to the north, where an asphalt road leads. They reflect the distinctness of Jain philosophy and tradition, including strict asceticism along with elaborate decoration. These monasteries are not as large as the Hindu and Buddhist ones, but contain exceptionally detailed artwork. Amazing paintings that once completely covered the ceilings of temples are partially preserved here.
The architectural cave complex in Ellora can rightly be called one of the wonders of the world. The skill of ancient architects was appreciated by UNESCO, which included the caves in the World Heritage List.
The ancient rock temples of Ellora are one of the most amazing creations of mankind, a monument to the creative imagination and skill of the ancient builders. In terms of its scale and beauty, Ellora is not inferior to the most famous religious buildings planet and is an example of religious tolerance of the Indians, where the three main Indian religions peacefully coexist - Buddhism, Hinduism and Jainism. Ellora has been a UNESCO World Heritage Site since 1983.
Rock-cut temples of Ellora are magnificent examples of art ancient india, combining the artistic styles of southern and northern India and the influence of foreign cultures.
History and religions
Ellora is located in the central part of India, in the state of Maharashtra, away from the popular tourist routes and the legendary treasures of the Golden Triangle. In the same area is the Ajanta cave complex, known throughout the world for its magnificent frescoes.
Ellora is a shortened form of the old name Elapur. In ancient times, Elapura was an important trading center of Dakkan, the trade route to Dakshinapatha passed through it - southern regions modern India.
The temples of Ellora were erected in a mountainous area located on the plateau of the Deccan, which is called the Deccan traps. Traps appeared as a result of great volcanic activity and are huge basalt formations, which are characterized by sheer cliffs and cliffs. Such rocky slopes have become perfect place for secluded cave monasteries of Buddhist communities. Over time, the monasteries grew, the flow of pilgrims increased, and with it the donations, on which new temples, cells of monks and temporary shelters for pilgrims were built.
The first temples of Ellora appeared during the reign of the Vakataka dynasty, whose kings were known as patrons of the arts, literature and architecture. Although the Vakatakas were adherents of Hinduism, they sponsored works in the Buddhist Ajanta for several centuries. According to another version, Ellora owes the first temples to the rulers of two Hindu dynasties - the oldest of the Hindu caves were built by the Kalachuri kings, and the Buddhist ones by the Chalukyas.
In general, little is known about the history of the early cave temples of Ellora, since after the decline of the Vakataka dynasty, religious complexes for some time lost serious support from the rulers. They owe their appearance more to nameless merchants and ignoble people who made feasible donations for the construction of temples, without leaving any records about it.
In the 7th-8th centuries Buddhism gradually lost its importance in the region. The revival of Hinduism began, and this is clearly seen in the example of Ellora, where Hindu caves were actively built, and some Buddhist sanctuaries were converted into Hindu temples.
Among the followers of Hinduism in Ellora, the cult of Shiva dominated, so in many caves you can see lingas and numerous images of Shiva-Maheshvara. The most significant cave of Ellora at number 16 is also dedicated to Shiva. The entire pantheon of gods and numerous scenes from the Mahabharata, Ramayana and Bhagavad Gita are presented on its walls. Also in Ellora, another branch of Hinduism is represented - Vaishnavism, a feature of which is the worship of Krishna, Rama and other incarnations of the god Vishnu. In cave 26 you can see amazing sculptural images of Krishna, Subhadra, Balarama.
In the 9th century, Jain caves also appeared in Ellora. Jainism found in Ellora a favorable atmosphere of religious tolerance and prosperity. The Ellora Jains were followers of the Tirthankaras (enlightened spiritual teachers) Sumatinatha, Parshvanatha and Gomateshwara.
The builders of the Jain temples of Ellora created their own style, which absorbed the characteristic features of Buddhist and Hindu architectural traditions.
According to contemporaries, Ellora was actively used until the 13th century, until the conquest of the Deccan by the Delhi Sultanate. Buddhist monks lived here until the 10th century, and work in the Jain temples continued until the middle of the 13th century. Although Ellora has not been used as a religious center since then, it has not been forgotten like Machu Picchu or others. famous buildings antiquities. There were Arab and European travelers who left descriptions of Ellora in their travel notes.
In XV-XVII, the caves were repeatedly desecrated by Muslim fanatics, and many statues, bas-reliefs and architectural elements were seriously damaged, but in general the monument was well preserved. Now Ellora is under the protection of UNESCO and the Archaeological Survey of India and, together with Ajanta, is the main attraction of the Maharashtra region.
Timeline of construction of the temples of Ellora
Despite the undeniable artistic and religious significance Ellora, there is practically no exact information about her history. With a few exceptions, not only the exact dates of the creation of most temples, but even the centuries during which they were created, remain a mystery. Only in three caves (15, 21 and 31) were inscriptions found that give researchers at least some clue to this mystery.
It is believed that the temples of Ellora were created in the period from the 5th to the 13th century AD. In the course of research, historians and archaeologists found that most of the caves are located in separate groups: 1-12, 14-15, 16-19, 20-24, 25-28, 32-34, and there are large separate monuments - caves 29 and 30 The numbers were assigned to the caves in accordance with the approximate chronology of construction and are divided into three groups according to the religion to which they were dedicated - Buddhist (1-12), Hindu (13-29) and Jain (30-34).
Researchers identify three important periods in the history of the complex:
- the early Hindu period (VI century), when the construction of the first caves was carried out under the auspices of the Hindu dynasties Vakataka and Kalachuri;
- the Buddhist period (VI century - early VIII century) under the rule of the Hindu Chalukya dynasty;
- late Hindu and Jain period (beginning of the 8th century - 10th century), when temples were built by the Hindu dynasties Rashtrakuta, later - Yadava.
Of the twelve Buddhist temples, caves 1-10 form a separate group. Caves 1-3 and 5 are rather simple and most likely belong to the earliest period. Judging by the style of individual elements, caves 2 and 3 can be dated to the 6th century, while caves 1 and 5 were built even earlier. Judging by the inscription on the base of one of the statues in cave 12, caves 4, 6-9 were created in the 6th-7th centuries. Cave 10 was built much later, in the 8th-9th centuries, as evidenced by a short inscription on one of its columns.
The group of Hindu temples is divided into several subgroups. Caves 17-19, 21,25-29 were presumably built in the 6th-7th centuries. Cave 15 was probably originally Buddhist, judging by several Buddha-like figures adorning the frieze above the first row of columns on the second floor. This cave contains an illegible inscription from the time of the Rashtrakuta king Dantidurga (circa 733-757) and a copper offering bowl that belonged to this king. However, historically, this temple dates back to the reign of Krishna I (757-773), and its parts, such as the shrines of Lankeshvara and Nadidevatas, date back to an even later period.
In architecture famous cave 16 one can feel the influence of styles belonging to different periods. So, main temple can be attributed to the middle of the 8th century, while the shrines of Lankeshvara and Nadidevatas and the sculptural bas-reliefs at the back of the monument appeared in the 8th-9th centuries.
The inscription in cave 21 is written in the letters of the ancient Kannada alphabet, which was in use in the 6th-7th centuries, and serves as indirect evidence that work on this temple began in the era of the formation of the Chalukya dynasty. This temple is considered the oldest among all the Hindu caves of Ellora.
The earliest of the Jain temples is Cave 30, which dates back to the first half of the 9th century. Cave 32 was being worked on around the same time, or just a few years later. Caves 31 and 33 date back to the 9th-10th centuries. Other small temples were built much later, for example, on a steep hillside above the Jain caves, a huge image of Parsvanatha was carved, which was made by a nobleman named Chakreshvara in 1234.
Architecture of cave temples
All the cave temples of Ellora, from the facade to the elements of interior decoration, are hollowed out in a basalt rock cliff and, in fact, are huge monolithic sculptures. The Ellora complex includes 34 caves located on the slopes of the Chamadiri cliff for 2.4 kilometers. Buddhist temples (caves 1-12) are located in the south, Jain temples (caves 30-34) are located in the northern part at some distance, and Hindu temples (caves 13-29) are located in the center. In the center of the complex is the architectural gem of India and the most significant temple of Ellora - Cave 16, or Kailasnatha.
The caves were carved in two ways: in the direction from the cliff wall deep into the rock and vertically, from top to bottom. In the first case, a hole was cut through the rock wall, through which the builders, gouging the rock, descended to the floor level and expanded the room, leaving pieces of rock in places, from which sculptures, friezes and columns were later carved.
The second method was that the rock was hollowed out from top to bottom, giving the shape of buildings, columns, sculptures and other architectural elements. With this method, the builders had no right to make a mistake, and the efforts spent on the work were truly colossal. So, it is estimated that during the construction of the Kailash temple, about 400 thousand tons of solid rock, and the period of work exceeded one hundred years.
Buddhist temples of Ellora
After the decline of Pitalkhora, Nasik and other Buddhist cave complexes of the Deccan, the Buddhist community moved to the vicinity of Aurangabad and settled near the village of Ellora (in those days - Elapura). In the 5th-7th centuries, Buddhists had a huge influence in this region. In the 8th-10th centuries, under the onslaught of the resurgent Hinduism, Buddhism gradually lost ground, and by the 12th century it fell into final decline.
Basically, the Buddhist caves of Ellora are viharas - rooms where the monks slept and ate, and spent time in meditation and prayer. The exception is cave 10, which is made in the form of a chaitya - a huge prayer hall. Caves 1-5, which until recently were considered the oldest in Ellora, are typical examples of the early Buddhist style, ascetic, without unnecessary details, sometimes even without statues and decorations. Over time, the architecture became more and more complex, the decoration became more luxurious, the temples included residential and office premises located on several floors.
The last of the Buddhist temples, Caves 11 and 12 are the largest Buddhist caves in India. These monasteries testify to the flourishing of the Mahayana teachings, in particular his Vajrayana tantric direction, which gained great popularity in this region by the 8th century.
The world-famous cave temples of Ellora are located 30 kilometers from Aurangabad. Thanks to their good preservation and amazing size, the caves attract tourists from all over the world. It is the cave temples of Ellora and Ajanta that fill the hotels of the city of Aurangabad to the eyeballs.
Caves in Ellora can compete with such recognized wonders of the world as Egyptian pyramids, Cambodian Angkor Wat, etc. The entire cave complex, consisting of 34 caves, is listed by UNESCO and is jealously guarded by this respected organization.
All cave temples in Ellora can be divided into several groups, Buddhist, Hindu, Jain, and separately from all the Kailasa temple (Kailasa Temple cave 16). For the convenience of tourists, all the caves are numbered and have information plates (in English), so there should be no problems finding the necessary caves.
History of the caves of Ellora
On the issue of the origin and expediency of building cave temples, scientific discussions are constantly ongoing, and today there are several theories about why ordinary mortals gnawed such beauty out of the rock.
It is believed that the cave temples of Ellora were built on the path of a large trade route, and in close proximity to today's Daulatabad, in the vicinity of which there are also Buddhist caves. Successful merchants donated part of their profits to the construction of temples, which could only contribute to the prosperity of their trade.
The fact of tolerance is surprising, because the three beliefs coexisted perfectly side by side and perfectly conducted economic activities, so some caves were originally supposed to be one religious branch, they could easily be rebuilt to the needs of another religion and no one fought.
There are 34 caves in Ellora, 12 Buddhist, built between 600 and 800 AD, 17 Hindu, built between 600 and 900 AD. and only 5 Jain, built in the period from 800 to 1000 AD.
If you look deep into history, Ellora clearly demonstrates the period of the revival of Hinduism during the Chalukya and Rashtrakuta dynasties, followed by the decline of Buddhism in India. What is characteristic is the Jain temples in Ellora, there are only 5 of them, but there could be much more, because the authorities actively supported this religious trend.
All the caves on the territory of the complex are numbered, the numbering starts from the south side (Buddhist caves), the first numbers of the caves are located on the right side of the Kailash temple, which is immediately opposite the entrance.
most grand building in Ellora is the temple of Kailash - this is an imitation of Mount Kailash in the Himalayas, on which, according to legend, the god Shiva lives. Photos unique temple Kailash can be found anywhere tourist guide across India, but live the temple strikes even more.
12 Buddhist caves are located south of the Kailash temple and many of them look very simple and do not arouse admiration, but cave number 10 stands apart, it is considered the most beautiful Buddhist cave in all of India. Be sure to visit cave number 10.
Hindu caves are so emotional (for example, the same Kailash temple) that you immediately distinguish them from all the others. Another distinguishing feature of Hindu caves is the presence of phallic lingams, characteristic features of the presence of the god Shiva. Most of the Hindu caves at Ellora were carved from top to bottom, so the ancient builders did not use any scaffolding.
Mount Kailash is located in Ellora. A temple was built on top of them, which is called Kailasanatka. According to the belief of the people who built it, the temple belongs to the lord of the mountains and is the top of the world, where the god Shiva lives.
The temple is decorated with intricate carvings, and a tablet was found in the main cache, on which the words were engraved: “Oh, how could I do this without magic ?!”. Everyone who has seen this statue is asking a similar question - how without the special equipment that modern man, it was possible to carve such a huge temple from a whole block of stone2
History of the Ellora Caves
All Ellora caves are carved into basalt hills 26-30 km away. from Aurangabad in Maharashtra. They are the best examples of both Indian and world cave-temple architecture, including complex facades and exquisitely decorated interiors. The creation of the caves dates from around the 6th to 9th century AD.
The cave temple of Kailasantha was created by order of Raja Krishna from the Rashtrakut family in the 13th century. The temple was erected according to very specific treatises on construction, where everything was set out to the smallest detail. Kailasantha was supposed to become an intermediate between heavenly and earthly temples, a kind of gate.
Kailasantha measures 61 by 33 meters. The height of the entire temple is 30 meters. It was created gradually, as if freed from stone husks. The cutting of the temple began from the top. First, a trench that surrounded a monolithic block. And then this block began to turn into a temple. Holes were cut in it, which would later become galleries and halls. Every detail had its purpose.
What is amazing about Kailasantha is that, unlike other temples that were usually built from the bottom up, the sculptors of this temple carved the temple from the top and sides. This temple is one of the most complex pieces of architecture in the world.
The Kailasantha temple at Ellora was created by gouging about 400,000 tons of rock, which speaks of the extraordinary imagination of the architects who created the plan for this temple. Kailasantha shows typical features of the Dravidian style. This is evidenced by the gate lying in front of the Nandin entrance, and the outlines of the temple, gradually tapering to the top, decorated with miniature sculptures along the facade.
The temple tower bears a resemblance to the towers of the Mamallapuram temples near Chennai in Tamil Nanda. They were built around the same time. The Kailasantha temple is similar in style to the architecture of the Pallava dynasty, which was established in Mamallapuram and became widespread. It is believed that architects from southern kingdom Pallavov.
Features of the structure of the caves of Ellora
Incredible efforts have been invested in the construction of the temple. It turns out that he himself stands in a well almost 100 meters long and 50 meters wide. The foundation of Kailasanath is not only a three-tiered monument, it is a whole huge complex, which includes a courtyard in front of the temple, full, porticos, galleries, halls and free-standing statues.
The lower part ends with a plinth of 8 meters, surrounded on all sides by snow-white figures of elephants and lions - sacred animals. These figures, as it were, support the Kailasantha temple and at the same time guard it.
The whole temple is divided into 3 main parts. But besides them, there are additional rooms, each of which is dedicated to a particular god associated with the cult of Shiva. It is impossible to find smooth walls in the temple - everything is covered with ornaments. The figurines are so skillfully made that with the right lighting they seem to be quite voluminous, not connected with the walls.
In front of the temple is a large hall with columns. A gallery of columns running down the front of the rock forms a deep narrow passage that surrounds the temple. This passage has 2 tiers of a hall and a covered gallery. The upper part of the temple shows many sculptural images.
The temple covers about 60,000 square feet and its tower is about 90 feet high.
The interiors are decorated with sculptural images of the gods. One of them refers to the goddess Rama and her husband Parvati, there is a sculpture of the many-armed demon Ravana, who was considered the embodiment of dark forces.
The whole rock temple with its numerous sculptures makes a magical impression. It is especially strong in the evening, when Kailasanatha is illuminated by the rays of the setting sun. One gets the feeling that all the drawings are about to come to life.
The caves and temples of Ellora are included in the list of monuments that are a world heritage and heritage of human civilization.
